This edition of NiTRO was prompted by responses to a survey conducted last year, which asked readers what they would like to see more about in NiTRO. It is also timely, given the recent announcement of results of the ERA exercise and research engagement and impact assessments. We have devoted two editions to an exploration of the state of play for creative arts research.
While our June edition will concentrate particularly upon evaluation systems for academic research, this edition sets the scene by asking the broader question “Are we there yet?” posed by Jen Webb in NiTRO way back in July last year. As one of our contributors in this edition points out, the answer to this question depends upon the context in which it is asked. In this edition of NiTRO a wide range of contexts are presented:
Ross Woodrow (Griffith) in a detailed analysis of creative arts research in ERA and provides an update on a new report by the Deans of Arts, Social Sciences and Humanities (DASSH) into the assessment of non traditional research outputs;
Craig Batty (UTS) points out some of the injustices that flow from the application of ‘underdeveloped’ research management practices;
Jeri Kroll (Flinders and CQU) turns to the question of postgraduate supervision and suggests that team supervision may be a way to address current challenges;
James Oliver (Monash) approaches the question “Are we there yet?” from the perspective of relationality and the changes brought about in academia by what has been referred to as the neoliberal agenda, while UK artist and academic Carole Gray considers the question through the use of artefacts in doctoral research;
Dennis Del Favero (UNSW) presents the changes that can push creative arts towards a genuinely equal interdisciplinary future; and Linda Candy (Co-Director, Artworks R Active) discusses the lessons for artists and universities that can be learned from collaboration between creative arts and other disciplines;
Vanessa Tomlinson and Charulatha Mani (Queensland Conservatorium, Griffith) share student and supervisor perspectives in their discussion of the research experience in music;
Susan Kerrigan (Newcastle) explains the challenges of ‘author’ visiblity in filmmaking research; and Bernadette Cochrane (UQ) brings to life the practicalities of practice and research as she describes the recent creative fellowship by international dramaturg, researcher and theatre maker, Katalin Trencsényi.